Also, how are you at ensemble playing (orchestra, chamber music)? If you wish to play in an orchestra, your orchestral/ensemble/teamwork skills are as important as your solo skills.īottom line? Ask your teacher. A cellist who can really play Vivaldi makes a better impression than one who stumbles through Dvorak. Heck, the same could be said of the Vivaldi E-minor Sonata. The same can be said of the Boccherini, which is certainly difficult when played with cadenzas, although musically not on par with the best concertos.
Technically, a cellist who can really play Haydn C (all movements) won't have too much difficulty learning the so-called harder concertos because mastery of the Haydn implies very solid fundamental technique. Someone who really can play the Haydn C major well is really on their way. Perhaps you are cleaner and better in tune.
Perhaps you are playing the pieces that you play at a higher level than I did at that age. When I was your age, I could play Saint-Saens (complete concerto), Dvorak (complete concerto), Haydn C (complete concerto), Romberg (complete concerto), and Boccherini b-flat (complete concerto.) I was working on Schumann.ĭoes that mean that I was more advanced than you? Not necessarily. Many a cellist has busted a string and many an audience member has shed a tear at this one.Duportstrad, The level of the pieces that you play does not matter as much as you think. This is truly a cellist’s cello piece.Ī brutal and demanding experience for cellist and listener, Shostakovich’s second concerto for the instrument captures the composer at his intense best. One man’s gimmick is another man’s innovation: Kodaly fundamentally altered the cello’s tuning to achieve the effect of his solo sonata, a characteristically veering work that has many champions in the cello world. Melodies flow unbidden throughout all of its three dainty movements, with several moments where Haydn displays his fondness of the instrument’s vocal characteristics, leaving it hanging above the orchestra with deliciously long and declamatory entries. Of his two cello concertos, Haydn’s first just pips the second in terms of its gem-like quality. Someone would have to do some proper research, but it seems that when people talk about the cello’s similarity to the human voice, they tend to do so after having heard Elgar’s Cello Concerto. Even today it’s seen as a totem of the cello’s ability as a solo instrument: singular, daring, dramatic. When he submitted it to his publishers, he demanded that no changes be made, not even minor ones by the intended soloist - and it served the piece well over the years.
The Czech legend was staunch when it came to his cello concerto. The religious connotations of one of Bruch’s most enduring works only add more depth - and with a sensitive cellist at the helm his Kol Nidrei can reach elemental levels of connection.
The changes in character are perfectly suited to Rostropovich’s elastic playing style in particular, but cellists have long since found much to sink their teeth into. A master melodist at the worst of times, here Brahms is absolutely on fire.ĭedicated to the one and only Mstislav Rostropovich, Britten’s first cello suite is a stark and demanding work that seamlessly locks together nine movements.
CELLO REPERTOIRE CRACKED
It only takes a few minutes of listening to the opening movement of Brahms’ first attempt at a Cello sonata to know that he’s cracked it.
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